دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 Lexical Congruence in Qur'anic Context: Evidences of Lexical Miraculousness and Qur'anic Stylistics بررسی تناسب لفظی در سیاق واژگانی قرآن؛ شواهدی از اعجاز واژگانی و سبک‌شناسی قرآنی 1 18 30159 10.22108/liar.2025.145696.2475 FA فضل الله رضایی اردانی دانشیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران 0000-0001-7457-5526 علیرضا فاضلی دکتری مدرسی معارف قرآن و حدیث، دانشگاه معارف اسلامی، قم، ایران Journal Article 2025 06 22 This study provides a systematic account of lexical fit in Qur’anic discourse, examining how word choice aligns with contextual flow (siyāq) and communicative situation (maqām). Using a descriptive–analytical, interdisciplinary approach, the study investigates semantic, morphological, syntactic, and phonological dimensions of Qur’anic vocabulary to explain why specific forms are selected over near-synonyms and alternative structures. The results show that Qur’anic diction is governed by a coherent pattern: lexical meaning, grammatical form, particles, and stylistic variation operate together to match the intended meaning and the psychological state of the addressee. Findings also indicate that features such as emphasis, softness vs. intensity, permanence vs. renewal (nominal vs. verbal choices), and rhetorical effects (fronting, ellipsis, shifts in address/iltifāt) are not incidental but context-motivated. The study argues that this rule-governed congruence between lexical selection and context constitutes a central dimension of Qur’anic lexical inimitability and contributes to its distinctive stylistic architecture and multilayered meaning production. Keywords: Lexical Congruence, Contextual Meaning, Rhetorical Miraculousness, Qur’anic Stylistics. Introduction The Qur’an’s linguistic distinctiveness is frequently discussed in terms of eloquence; however, a core and analyzable component of its rhetorical force lies in the precise congruence between lexical choice and contextual requirements. The present research addresses the following central problem: How does the Qur’an systematically harmonize “wording” (lafẓ) with context (siyāq) and communicative situation (maqām), and what rhetorical functions does this harmony generate? The scope of the study is lexical-contextual fitness at multiple linguistic levels (lexical semantics, morphology, syntax, and sound/stylistics). Its aims are (a) to identify recurring patterns governing context-appropriate lexical selection, (b) to describe how such patterns contribute to meaning-making and persuasive impact, and (c) to demonstrate how these patterns function as evidence for lexical inimitability and Qur’anic stylistics. The significance of the topic lies in moving beyond impressionistic claims toward a structured explanation of why a given expression is optimal in its specific placement. Prior scholarship in rhetoric, exegesis, and inimitability studies has treated notions such as “appropriateness to the situation”, fronting and postponement, ellipsis, and iltifāt; yet a consolidated, multi-level account that links these devices directly to lexical selection remains needed. Accordingly, the study formulates the following three research questions: What selection principles govern Qur’anic lexical fit across differing contexts? How do form-based choices (nominal/verbal patterns, particles, word order) implement these principles? What interpretive and rhetorical consequences follow from this contextual congruence? Materials and Methods This research employs a descriptive-analytical method with an interdisciplinary lens combining classical rhetoric and contemporary linguistic description. The materials consist of representative Qur’anic passages selected for their clear sensitivity to context-driven variation (e.g., near-synonym choice, shifts between nominal and verbal structures, particle selection, and stylistic transitions). Each example is analyzed within its immediate co-text and broader thematic frame to avoid isolating forms from discourse function. The analytical framework operates on four layers: (1) lexical-semantic analysis (fine-grained distinctions among near-synonyms and evaluative nuance), (2) morphological/formal analysis (patterns signaling permanence vs. renewal, intensity, and derivational meaning), (3) syntactic-functional analysis (word order, fronting, ellipsis, role assignment, and their effects such as restriction and emphasis), and (4) phonological/stylistic analysis (sound patterning where relevant and discourse-level devices such as iltifāt and stylistic alternation). The procedure follows a consistent sequence: identify the contextual demand (maqām), test plausible alternatives (near-synonyms or structural substitutes), and justify the selected form by explaining what meaning or rhetorical force would be weakened or altered under substitution. The main limitation is that the study prioritizes explanatory depth over statistical generalization; it seeks recurring interpretive principles rather than frequency-based claims. Research Findings The findings of the study show that Qur’anic lexical fit can be organized into recurrent, interlocking patterns. First, dictionary-level meaning is regularly calibrated to the discourse situation: among near-synonyms, the Qur’an selects the item whose nuance best matches the intended threat, mercy, praise, blame, or psychological stance of the audience. Second, lexical “qualities” (perceived softness/harshness, familiarity/strangeness, intensification) correlate with the surrounding rhetorical mode: promise and consolation tend to co-occur with smoother forms, while warning and reprimand favor more forceful diction. Third, the Qur’an exploits nominal vs. verbal structures: nominal forms tend to signal stability and permanence, whereas verbal forms—especially imperfective patterns—often encode renewal, continuation, and dynamic unfolding. Fourth, particles and prepositions are selected with high contextual sensitivity, where a change of particle would shift the intended relational meaning (e.g., supervision, attachment, elevation, causality). Fifth, syntactic role and deviation (fronting/postponement, ellipsis, and apparently “extra” elements) function as meaning-operators that produce restriction, emphasis, or interpretive focus, rather than mere ornamentation. Sixth, stylistic variation—especially iltifāt (shifts in person/voice)—serves discourse management: it can move the reader from narration to direct confrontation, sharpen moral evaluation, or differentiate audience groups within a single passage. Collectively, these patterns support the claim that Qur’anic lexical choices are systematically context-motivated and rhetorically consequential. Discussion of Results and Conclusion The results directly answer the study’s core problem: the harmony between lafẓ and siyāq/maqām is achieved through a multi-level selection system in which semantics, form, syntax, particles, and style mutually reinforce one another. This implies that many Qur’anic phenomena sometimes treated as optional (e.g., fronting, ellipsis, or particle variation) are better understood as context-driven constraints: replacing the chosen form with a near-synonym or a more “neutral” structure typically reduces precision, shifts emphasis, or weakens the intended affect. Consequently, lexical inimitability here is not framed as aesthetic superiority alone but as rule-governed optimality—the systematic matching of linguistic resources to contextual demands to produce layered meaning efficiently. The findings also suggest an interpretive payoff: context-sensitive lexical analysis can clarify why parallel themes across the Qur’an may employ different wording, and how stylistic shifts guide reader engagement and moral positioning. Limitations remain: the study is qualitative and example-driven, and future work could expand the dataset, test the proposed categories across broader corpora, and integrate computational tools to map patterns of contextual variation. Overall, the study concludes that lexical fit constitutes a central pillar of Qur’anic stylistics and provides structured evidence for lexical inimitability through demonstrable, context-motivated choice architecture. پژوهش حاضر با هدف تبیین علمی و نظام‌مند یکی از مؤلفه‌های برجستۀ اعجاز بلاغی قرآن کریم، یعنی مطابقت دقیق واژگان با سیاق کلامی و مقام معنایی انجام گرفته است. مسئلۀ اصلی تحقیق، تبیین چگونگی هماهنگی و تعامل میان لفظ و سیاق در ساختار زبانی قرآن است؛ پدیده‌ای که به‌مثابۀ جلوه‌ای از نظام بلاغی خاص قرآن، نقش بنیادینی در انتقال پیام‌های چندلایه و ژرف آن ایفا می‌کند. این مطالعه با اتکا بر روش توصیفی‌-تحلیلی و با رویکردی بینارشته‌ای، ابعاد معناشناختی، ساختاری، نحوی و صوتی واژگان قرآنی در پیوند با مقتضای حال و مقام کلامی را واکاوی می‌کند. اهداف اصلی این پژوهش شامل: ۱. کشف الگوی حاکم بر انتخاب واژگان متناسب با سیاق‌های مختلف در قرآن، ۲. تحلیل کارکردهای بلاغی این تناسب در تولید معنا و اثرگذاری، و ۳. ارائۀ شواهدی مستند از جلوه‌های اعجاز واژگانی قرآن در ساختارهای نحوی، صرفی و سبکی است. براساس یافته‌ها قرآن کریم با بهره‌گیری از شیوه‌های پیچیدۀ بلاغی نظیر تقدیم و تأخیر، التفات، تنوع سبک، انتخاب هدفمند افعال، اسماء و حروف معانی، ساختاری منسجم و معنادار پدید می‌آورد که در آن، هر لفظ به‌گونه‌ای انتخاب شده که حداکثر هماهنگی را با موقعیت معنایی و روانی مخاطب داشته باشد. این تطابق نظام‌مند، نه‌تنها بیان‌کنندۀ درک ژرف قرآن از ظرفیت‌های زبانی است که مؤیّدی قوی بر اعجاز زبانی و بلاغی آن تلقی می‌شود.

https://liar.ui.ac.ir/article_30159_49391cb9cc70ff0ac2980bde1ec878ec.pdf

دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 The Five Layers of Speech in Divan-e Shams: An Analysis Based on Kenneth Burke's Theory of Rhetorical Speech لایه‌های پنج‌گانة خطاب در دیوان شمس؛ واکاوی بر اساس نظریة خطاب بلاغی کنت برک 19 34 30181 10.22108/liar.2025.146489.2507 FA فائزه عرب یوسف آبادی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه زابل، زابل، ایران Journal Article 2025 09 03 In the domain of analyzing classical Persian texts, the utilization of modern rhetorical theories can pave the way for a re-examining perspective on the linguistic and semantic structures of the texts. The general corpus of the Divan-e Shams-e Tabrizi, with its complex structure and highly dynamic language, is among those works whose rhetorical analysis necessitates a dynamic and flexible theory; therefore, Kenneth Burke's theory of rhetorical address has been selected as the analytical framework of this study. The aim of the current research is to reveal how address is formulated in the ghazals of Shams based on the five components derived from Kenneth Burke's theory. The research method is qualitative and text-based. The findings indicate that in Shams's ghazals, the apostrophe (nida) serves as a rhetorical summons to invoke the presence of the addressee to all existence, God, the soul, and even the poet himself. The imperative, rather than implying coercion or obligation, functions as the invocative act of the speaker to call the addressee to another realm of existential experience. The questions posed in Shams's ghazals, instead of being answer-oriented, are contemplative, serving to invite wonder, summon to intuition, or awaken the addressee. Addressing the self in these ghazals acts as a construct in which the boundaries between inside and outside, self and other, 'I' and 'you,' dissolve, and performance is the passionate presence of meaning at the level of language—when language becomes, for the poet, a field of Sama and presence. Keywords: Performance, Self-Address, Divan-e Shams, Imperative Verb, Kenneth Burke, Apostrophe. Introduction In the realm of classical Persian text analysis, utilizing modern rhetorical theories can facilitate a rethinking of linguistic and semantic structures. The Divan of Shams Tabrizi by Jalal al-Din Muhammad Rumi, with its complex structure and performative language, is a work whose rhetorical analysis requires a dynamic and flexible theoretical framework; thus, Kenneth Burke’s theory of the "Rhetorical Situation" has been selected as the analytical framework for this study. Burke, in his book A Rhetoric of Motives (1950), moves beyond viewing rhetoric merely as a tool for persuasion, defining it instead as a mechanism for social bonding and interaction that necessitates the interplay of speaker, audience, and scene. This perspective aligns with the address-centric nature of Shams's ghazals, where the poet addresses real humans, himself, abstract concepts, and the Divine. This study aims to reveal how address is formulated in the ghazals of Shams based on five components derived from Burke's theory: Invocation, Imperative, Question, Internal Address, and Performance. The primary problem addressed in this study is how rhetoric manifests in audience-oriented actions within Shams's ghazals, with the goal of investigating the capacity of the rhetorical situation theory to explain the linguistic and action-oriented structures that elevate language from a transmissive to a performative state. Materials and Methods The present study employs a qualitative research methodology, utilizing a descriptive-analytical approach to conduct an in-depth textual analysis. The primary corpus for this investigation consists of the Divan of Shams Tabrizi by Jalal al-Din Muhammad Rumi, specifically selected for its sophisticated linguistic structures and its reliance on intense, audience-oriented dynamics. Given the text's complex nature—which invites the audience to participate in a verbal action rather than merely observe it—the research is grounded in the hypothesis that the ghazals are highly compatible with Kenneth Burke’s theory of the Rhetorical Situation. The analysis focuses not only on the formal presence of these elements but also on their functional role in shifting the text’s register. Specifically, the research examines how these layers operate to dismantle traditional boundaries between the speaker and the listener, treating the "audience" as a fluid construct that ranges from the Divine to the poet’s own self. By tracing the trajectory of these five components, the study aims to demonstrate how Rumi elevates language from a static, transmissive tool to a dynamic, performative force. This approach allows for a comprehensive investigation of the "logic of address" in the poetry, revealing how the poet utilizes linguistic capacity to transform the text into a "scene" where meaning is enacted and shared, effectively moving the reader from a passive receiver to an active participant in the semantic field. Research Findings The analysis of the ghazals based on the five specified components yielded the following results: Invocation: In Shams's ghazals, invocation functions as a rhetorical call to summon the presence of the entire cosmos, God, the soul, and even the poet himself. It acts not as compulsion or obligation, but as an evocative action by the speaker to invite the audience to another realm of existential experience. Imperative: The imperative verbs in the text serve to move the spirit and excite the soul, rather than to command or impose obligation. Rumi elevates language from the propositional level to the level of action. Questions: The rhetorical questions posed in the ghazals are not answer-oriented; instead, they are contemplative and designed to invite the audience to wonder, intuition, or awareness. Internal Address: Addressing the self functions as structures in which the boundaries of inside and outside, self and other ("me" and "you"), are obliterated. Shifts in pronouns and the transition from "me" to "you" reflect psychological, emotional, and existential layers. Performance: There are verses in the ghazals where words dance, scream, circle, and command. In this context, language transforms into a field of "Sama" (spiritual audition) and vigorous presence. Discussion of Results and Conclusions The results of the analysis demonstrate that rhetoric in Rumi's semantic system is not merely a tool for expression or persuasion; rather, it is a living, participatory, and multi-layered structure that invites the audience not only to receive a message but to be present in the field of meaning. In Shams's ghazals, every address is a linguistic event that rises from the depths of language and projects into the world of experience and intuition. Overall, the five components analyzed in this research reveal that the address in Rumi's ghazals possesses a fluid, multi-voiced, and absolutely rhetorical structure. It is neither purely internal nor externally projected but is continuously generative and unfolding. By leveraging linguistic, syntactic, rhetorical, emotional, and musical capacities, Rumi does not merely "address"; rather, he performs, lives, and transforms the address into a collective experience. در حوزة تحلیل متون کلاسیک فارسی، بهره‌گیری از نظریه‌های بلاغی نوین زمینه‌ساز نگاهی بازاندیشانه به ساختارهای زبانی و معنایی متون خواهد بود. کلیات دیوان شمس تبریزی با ساختار پیچیده و زبان پرکنش خویش، از زمرة آثاری است که تحلیل بلاغی آن، نیازمند نظریه‌ای پویا و انعطاف‌پذیر است؛ ازاین‌رو نظریة خطاب بلاغی کنت برک برای چارچوب تحلیلی این مقاله برگزیده شده است. هدف پژوهش، آشکار ساختن چگونگی صورت‌بندی خطاب در غزلیات شمس بر پایة پنج مؤلفة برآمده از نظریة کنت برک است. روش تحقیق، کیفی و متن‌محور است. یافته‌ها نشان می‌دهد که در غزلیات شمس، ندا نوعی فراخوان بلاغی برای احضار حضور خطاب به همة هستی، خدا، جان و حتی خود شاعر است. امر به جای تحکم یا الزام کنش احضارگرانة گوینده برای فراخواندن مخاطب به ساحت دیگری از تجربة هستی است. پرسش‌هایی که در غزل‌های شمس مطرح می‌شود، به جای پاسخ‌محور بودن، تأمل‌افزا و برای دعوت به حیرت، فراخوان به شهود یا آگاه‌سازی مخاطب است. مخاطبه با خویشتن در این غزلیات، به‌مثابۀ ساخت‌هایی عمل می‌کند که در آن مرزهای درون و بیرون، من و او، من و تو، مضمحل می‌شوند و اجرا، حضور پرشور معنا در سطح زبان است، آن‌گاه که زبان برای شاعر تبدیل به میدان سماع و حضور می‌شود.

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دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 An Analytical Study of the Development of Explicit Metaphor in Iranian National Epics (With a Focus on Shahnameh, Bahmannameh, Garshaspnameh, Borzunameh, and Samnameh) تحلیلی بر سیر استعارۀ مصرّحه در حماسه‌های ملی ایران؛ با تکیه بر شاهنامه، بهمن‌نامه، گرشاسب‌نامه، برزونامه و سام‌نامه 35 54 30190 10.22108/liar.2025.146797.2517 FA مهدیه جلالی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و زبان‌های خارجی، دانشگاه علامه طباطبایی، تهران، ایران 0009-0007-9248-6050 غلامرضا مستعلی پارسا دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و زبان های خارجی، دانشگاه علامه طباطبایی، تهران، ایران حسین آقاحسینی استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران 0000-0009-0009-0009 Journal Article 2025 09 24 Epic literature, owing to its inherent nature, is deeply rooted in figurative language, particularly metaphor. This study conducts a comparative analysis of the metaphors employed in Shahnameh, Garshaspnameh, Bahmannameh, Borzunameh, and Samnameh. The research method is descriptive-analytical, based on the study of epic texts, extraction, and categorization of metaphors, followed by their analysis based on conceptual domains and frequency of use. Each work, aligned with its subject matter and historical context, introduces specific linguistic innovations. Shahnameh, due to its vast influence and impact, is regarded as the “mother text” for other epic works, while Samnameh, with its unique metaphors, tendency towards composite metaphors, and fusion of epic and lyric elements, is the most creative work in this domain. Natural elements have the highest frequency of metaphorical use, followed by human, lyrical, aristocratic, and mythical elements. The research results indicate that the enduring value of epic works is not determined by the frequency of metaphor use, but by how language, particularly metaphor, is applied. This fundamental technique plays a crucial role in reflecting the national, cultural, and mythological identity of Persian epic literature. In conclusion, it can be stated that the evolution of metaphor in Persian national epic literature has shifted from a “narrative and heroic function” towards an “aesthetic and lyrical function.” Keywords: Epic, Metaphor, Traditional Rhetoric, Persian Literature. Introduction Among the various forms of epic literature, national epics possess greater social significance. Although the poet does not directly inject personal emotions into the epic narrative, they shape the reader's perspective through the use of rhetorical devices. This paper examines the function of figurative language, particularly explicit metaphor, in five prominent epic works, aiming to analyze the evolution of metaphor and its reflection in these texts. Existing studies in this area are largely quantitative, comparing epic works without an in-depth exploration of their individual characteristics. The goal of this research is to explore the quality of explicit metaphors in these works and the influence of cultural, social, political, and geographical contexts on the creation of metaphors in epic texts. The research seeks to answer questions regarding the use of metaphor in these epics, its evolution, and its connection with the worldview, geography, and historical conditions of the poets. This study adopts a comparative approach to analyze five epic works that have seldom been examined together, allowing for a comprehensive investigation of the evolution of explicit metaphor. Additionally, this research focuses on the function of metaphors and their relationship with the structure of the epic, avoiding purely quantitative or descriptive analysis. Materials and Methods The research is conducted using statistical, descriptive-analytical, and library-based methods. A quantitative analysis of metaphors across the five texts and a qualitative content analysis focused on traditional rhetoric and the established metaphorical structures were employed. The five epic works examined are Shahnameh, Bahmannameh, Garshaspnameh, Borzunameh, and Samnameh. To manage the data volume, 1,000 couplets are selected from each epic, based on the chronological order of the works. The study analyzes the use of various types of metaphors (simple explicit, embellished explicit, absolute explicit, and embellished simple metaphors) in these works. It should be noted that the chronological order of the works is not definitively established but is based on the strongest hypotheses, as clarified in the text of the paper. The 1,000 couplets are chosen from the section dealing with the birth of the heroes, except for the Bahmannameh, which begins with the reign of Bahman. Tools used for analysis include note-taking from the couplets containing various types of metaphors, determining the type of metaphor, analyzing them, plotting frequency graphs, and calculating percentages. The data were gathered through studying the original texts, critical sources, and relevant research. Research Findings In the analysis of explicit metaphors in five national epics of Iran, the Shahnameh utilizes the highest frequency of pure explicit metaphors, whereas the metaphorical embellishments (or enhanced metaphors) account for the smallest percentage. In the Garshaspnameh, metaphorical embellishments are the most prevalent, while other types of metaphors are used at an average level. In the Bahmannameh, explicit metaphorical embellishments are specifically employed to maintain the purity of the language. In the Boruznameh, the usage of both pure explicit metaphors and metaphorical embellishments is observed in equal measure. The Samnameh notably makes extensive use of compound metaphors and, with the greatest diversity in metaphorical forms, reveals the peak of euphuistic language. In these epics, metaphors are categorized into six main types: natural, aristocratic, divine, euphuistic, war-related, and pre-Islamic. The most frequent metaphors are natural, followed by human and euphuistic metaphors. Other types of metaphors are used approximately at equal levels. Based on these findings, the Shahnameh is recognized as the “mother text” for other epic works, and the Garshaspnameh exhibits more complexity than the Shahnameh. The Bahmannameh acts as a bridge between epic poetry and emotional euphuism, the Boruznameh largely imitates the Shahnameh, and the Samnameh demonstrates the greatest innovation in metaphor usage. Discussion of Results and Conclusions The findings of this research indicate that Persian epic works are both unified in their literary and cultural foundations and exhibit the creativity and innovation of each individual work. Shahnameh, due to its scope and influence, serves as the central pillar of this literary tradition, while Samnameh, with its unique metaphors, stands out as the most creative work. The combination of tradition and innovation in these works highlights the richness of Persian epic literature and the poets’ ability to create lasting images. The use of metaphor, simile, and exaggeration, particularly in sensitive scenes such as the description of hero unions, demonstrates the poet’s awareness of the ethical and aesthetic functions of metaphorical language. The study shows that metaphor is a fundamental component of epic literature, with nearly all the works, except Samnameh, employing similar frequencies of metaphor. Natural elements have the highest frequency of use, followed by human, lyrical, aristocratic, and pre-Islamic elements. The choice of these elements is not only influenced by other literary types but is primarily based on the need to create awe and maintain a connection with the general public. The similarities between the elements in the epics stem from the geographical and historical proximity of the poets, as well as the status of Shahnameh as the “mother text.” The analysis of the reflection of national identity shows that metaphors have played a crucial role in preserving ancient culture and distant myths. Samnameh, with its distinct geography and time, exhibits the greatest diversity in metaphors, blending heroic and lyrical metaphors. Overall, the development of metaphor in Persian national epic literature has shifted from a narrative and heroic function to an aesthetic and lyrical one. حماسه از کهن‌ترین انواع ادبی جهان است و به‌دلیل ویژگی‌های بنیادی آن خاستگاه زبان مجازی است که بخش کلان این زبان مجازی را استعاره تشکیل می‌دهد. این پژوهش با هدف تبیین جایگاه و کارکرد زبان استعاری به‌ویژه استعارۀ مصرّحه در منظومه‌های حماسی پارسی، به بررسی تطبیقی استعاره‌های به‌کاررفته در شاهنامه، گرشاسب‌نامه و بهمن‌نامه، برزونامه و سام‌نامه پرداخته است. روش تحقیق توصیفی- تحلیلی و مبتنی‌بر مطالعۀ متون حماسی، استخراج و طبقه‌بندی استعاره‌ها و تحلیل آن‌ها بر اساس حوزه‌های مفهومی و میزان بسامد کاربرد است. هر اثر متناسب با موضوع، سبک و بافت تاریخی خود نوآوری‌های زبانی ویژه‌ای عرضه می‌کند. شاهنامه به‌سبب گسترۀ نفوذ و تأثیرگذاری، هستۀ مرکزی سنت استعاری حماسۀ پارسی و «مادر متن» دیگر منظومه‌ها به‌شمار می‌آید؛ در حالی‌که سام‌نامه با بیشترین استعاره‌های منحصربه‌فرد، گرایش به استعاره‌های ترکیبی و پیوند هم‌زمان با فضاهای حماسی و غنایی، خلاقانه‌ترین اثر این حوزه است. عناصر طبیعی بیشترین بسامد استعاری را داراست و پس از آن عناصر انسانی، غنایی، اشرافی و اسطوره‌ای قرار می‌گیرد. نتایج پژوهش نشان دارد که عامل برتری و ماندگاری آثار حماسی نه میزان کاربرد، بلکه چگونگی به‌کارگیری زبان استعاری است؛ شگردی بنیادین که نقشی اساسی در بازتاب هویت ملی، فرهنگی و اسطوره‌ای ادب حماسی پارسی دارد. در مجموع، می‌توان گفت که تحول استعاره در حماسۀ ملی فارسی از «کارکرد روایی و حماسی» به سوی «کارکرد زیبایی شناختی و غنایی» حرکت کرده است.

https://liar.ui.ac.ir/article_30190_9183642747a140e0c5ee751103a9b84f.pdf

دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 The Necessity of Re-examining the Similes in Nizami Ganjavi’s Makhzan al-Asrar ضرورت بازکاوی در تشبیهات مخزن‌الاسرار نظامی‌ گنجه‌ای 55 74 30208 10.22108/liar.2026.147302.2525 FA حسین علیقلی زاده استادیار گروه ادبیات فارسی و زبان‌های خارجی، پردیس علوم، دانشگاه صنعتی خواجه نصیرالدین طوسی، تهران، ایران حمید پولادی استادیار گروه زبان‌های خارجی و دروس عمومی، دانشکدۀ مهندسی صنایع و مدیریت، دانشگاه صنعتی شاهرود، شاهرود، ایران Journal Article 2025 11 03 One of the most widely used imaginative techniques, which plays a crucial role in shaping the figurative language of the Makhzan al-Asrar of Nizami Ganjavi, is simile. Given the great importance of this literary technique and the lack of independent research in this field, this study investigates the element of simile and its types in this work. The results of the study show that, in terms of types of similes, the most common types are baligh, mufassal, mu’akkad, and mujmal, respectively. Regarding the components of simile, all four types of tenor (mushabbah) and vehicle (mushabbah-un-bih), in sensory and intellectual, as well as structural patterns (simple, restricted, and compound) have textual evidence. Among these, “sensory-to-sensory” and “simple-to-simple” similes are the most frequent, while “intellectual-to-intellectual” and “compound-to-simple” are at the least common. Additionally, among the various markers of simile (adat-e tashbih), cho and chon play the most significant role in constructing similes in this work. The ground of comparison (wajh-e shabah) is also widely used and accompanied by poetic innovations. Keywords: Nizami Ganjavi, Makhzan al-Asrar, Simile (Tashbih), Rhetorical Devices, Figurative Language. Introduction One of the most eloquent rhetorical techniques for conveying diverse meanings is simile. As a stable element in the structure of many poetic forms, this figure of speech maintains a continuous presence in literary texts and thus occupies a prominent position among other rhetorical devices. In Makhzan al-Asrar, simile constitutes one of the most salient rhetorical figures, forming the basis of numerous poetic images. Nizami consistently employs this figure as an assistant for imaginative expression. As Zarrinkub observes: “Among the various types of figurative imagery, without which poetry rarely achieves imaginative power in its details, simile and metaphor assume a more pronounced role in his discourse” (Zarrinkub, 2004, p. 233). Therefore, given the significance of this figure of speech, its remarkable presence in Makhzan al-Asrar, and its crucial role in revealing Nizami’s distinctive and creative modes of poetic expression, the present study aims to examine the types and functions of simile in this work. The study of similes in Makhzan al-Asrar has been limited to a few works. These include Imaginary Figures in the Nizami’s Khamsa by Zanjani (1998), which examines a number of similes of Khamsa; Comparative and Analytic Research on Nizami’s and Jami’s Similes by Nabilou (2009); and The Comparison of Structure of Makhzan al-Asrar's and Matla al-Anwar's simile by Nabilu and Shiravi (2010). Although these studies address similes in Makhzan al-Asrar, they exhibit certain limitations that highlight the need for further research and a comprehensive re-examination of similes in this work. Materials and Methods This research was conducted using a descriptive-analytical method, based on data extracted from the original source. In the first stage, the verses were read individually, and all instances of similes were identified and recorded. They were then organized into specific categories, and the exact frequency of each type was determined. In the second stage, the obtained statistical data were used to analyze the types, salient features, and functions of each of the four components of simile. Research Findings In Makhzan al-Asrar, all types of similes are evident throughout the work. The most frequently employed types are Baligh, Mufassal, Mu’akkad, and Mujmal, respectively (See: Table 1). Table 1. Frequency of Simile Types in Makhzan al-Asrar Similarity Type Frequency Percentage Number of Verses Mufassal 203 16.23 168 Mujmal 110 8.79 94 Mu’akkad 196 15.67 153 Baligh 742 59.31 505 Total 1251 100 829 Regarding to tenor (mushabbah) and vehicle (mushabbah-un-bih), sensory elements are most frequently employed in constructing similes and objectifying abstract concepts. As Servatian (2000, p. 198) notes: “material and tangible objects of the universe and nature often are the main actors in the scenes of similes in the Makhzan al-Asrar. Intellectual elements are also utilized to emphasize tangible concepts and create novel similes, although this occurs less frequently. In terms of structural classification (simple, restricted, and compound), simple type is the most prevalent, while compound and restricted similes are comparatively rare. Among restricted similes, those limited to adjectives are the most common. Compound similes are generally infrequent in Makhzan-ul-Asrar. Markers of simile (adat-e tashbih), in this poem exhibit both variety and strategic usage. For instance, the omission of markers of similes in Mu’akkad similes serve to conceal them, reflecting Nizami’s artistic intent, whereas the explicit mention of similes’ markers in Mufassal and Mujmal categories primarily serve an explanatory function. The deliberate mention and omission of ground of comparison (wajh-e shabah) serve diverse artistic and functional purposes. Considering the high frequency of Baligh similes, it is evident that Nizami tends to omit similes, thereby enhancing the imaginative impact and literary function of his poetic imagery. Discussion of Results and Conclusions Among the different types of similes in Makhzan al-Asrar, Baligh similes have a particularly prominent position, with 743 instances (59.39%). That is followed Mufassal similes, which account for 203 instances (16.34%), Mu’akkad similes with 195 cases (15.70%), and Mujmal similes with 110 instances (8.62%). Regarding the elements of similes, all four categories of sensory and intellectual components, as well as the nine types of structural classified as simple, restricted, and compound, are attested in this poem. Among these, ‘sensory-to-sensory’ similes (763 instances) and ‘simple-to-simple’ similes (731 instances) are the most frequent, whereas ‘intellectual-to-intellectual’ (59 instances) and ‘compound-to-simple’ similes (2 instances) occur the least. In terms of stylistic and various similes markers employed to construct similes, chu (109 instances) and chun (69 instances) appear the most, while markers such as be-rsam and eidun are used only once. Additionally, the omission of ground of comparison (wajh-e shabah) constitutes a primary technique employed by Nizami to introduce complexity and create a pause in the comprehension of the metaphorical relationship between the two components of simile. Grounds of comparison in this poem exhibit a wide range of qualities, including color, shape, movement, posture, dimension, and other characteristics. مخزن‌الاسرار حکیم نظامی گنجه‌ای یکی از برجسته‌ترین مثنوی‌های تعلیمی ادب فارسی در قرن ششم هجری است که به‌واسطة ساختار پیچیدة زبانی و به‌کارگیری شگرد‌های گوناگون بیانی، از شهرت و اقبال زیادی برخوردار است. یکی از پرکاربردترین عناصر بیانی که نقش مهمی در ساخت زبان تصویری در این منظومه دارد، «تشبیه» است؛ ازاین‌رو، هدف نویسندگان در این جستار این است تا با واکاوی و تحلیل عنصر تشبیه و انواع و ارکان آن، زمینة شناخت هرچه بهتر این اثر گران‌سنگ و نیز دستگاه بلاغی آن را برای دوستداران و نظامی‌پژوهان فراهم سازند. این پژوهش به روش توصیفی‌تحلیلی و برمبنای داده‌های به‌دست‌آمده از متن اصلی اثر انجام گرفته و نتایج آن از این قرار است: از نظر «انواع تشبیهی» تمامی تشبیهات در مخزن‌الاسرار حضور چشمگیری دارند که انواعِ «بلیغ»، «مفصل»، «مؤکد» و «مجمل» به‌ترتیب پربسامدترین تشبیهات این منظومه است. همچنین پراکندگی تشبیهات در مخزن‌الاسرار نشان می‌دهد که بیش از نیمی از انواع تشبیهات، در بخش «مقدمات» اثر (با یک‌سوم حجم کل ابیات) به کار رفته است. از نظر «ارکان تشبیهی» نیز همة انواع چهارگانة طرفین به‌اعتبار «حسی ‌و عقلی» و نه‌گانه به‌اعتبار «مفرد، مقید و مرکب»، دارای شواهد کاربردی است که از آن میان طرفینِ «حسی ‌به ‌حسی» و «مفرد به ‌مفرد» بیشترین کاربرد و طرفینِ «عقلی ‌به ‌عقلی» و «مرکب ‌به ‌مفرد» کمترین کاربرد را داراست. از میان ادات متنوع تشبیهی نیز، «چو» و «چون» مهم‌ترین نقش را در ساختار تشبیهات به خود اختصاص داده‌اند. کاربرد وجه‌شبه نیز با توجه ‌به کاربرد زیاد تشبیهات مفصل و مؤکد در دو نوع تخییلی و تحقیقی، گسترده و همراه با نوآوری‌های شاعرانه است.

https://liar.ui.ac.ir/article_30208_0633144014f43dda4623e9c1ba679590.pdf

دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 The Analysis of Mohsen Pezeshkian’s Poems بررسی انواع هنجارگریزی در اشعار محسن پزشکیان 75 98 30182 10.22108/liar.2025.146781.2516 FA مهدی رستمی استادیار گروه زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه سلمان فارسی کازرون، کازرون، ایران ریحانه پناهی‌دوست کارشناس ارشد زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه سلمان فارسی کازرون، کازرون، ایران Journal Article 2025 09 24 Mohsen Pezeshkian is one of the prominent literary figures and prolific poets of the pre-revolutionary period who remains relatively unknown within the academic community and among students of Persian literature. The present study aims to examine and analyze various types of norm deviation in both the traditional and modern poems of Pezeshkian in order to identify their literariness. The application of Leech’s eightfold types of norm deviation, as well as rule expansion, can be observed in Pezeshkian’s poetry. Among these, semantic deviation is particularly prominent and is realized in diverse ways through the use of various literary devices such as simile and metaphor (both implicit and explicit), as well as personification. Pezeshkian skillfully plays with vocabulary and creates lexical deviations, and these coinages clearly reflect his linguistic competence and poetic creativity. He also employs temporal deviation through the use of archaic vocabulary and ancient syntactic structures. Stylistic deviation is widely evident in his sonnets as well as in his modern poems. By utilizing vocabulary from southern and Kazeruni local dialects, Mohsen Pezeshkian vividly depicts the southern atmosphere. Especially in his sonnets, these local and colloquial expressions appear frequently, to the extent that reading his poems can be challenging for non-native readers. The nature of the South and its palm trees are vividly reflected in his poetry. The thematic content of Pezeshkian’s poems includes social and political concerns, romantic themes, the sorrow of separation from the beloved, and, at times, mystical reflections. He also benefits from phonological and graphological deviations in his poetic language. The research methodology adopted in this study is descriptive–analytical. The study was conducted through close reading and examination of the selected works, systematic note-taking, and the use of written sources such as scholarly articles, theses, and books related to formalist criticism and norm deviation. Keywords: Formalism, Poetry, Norm Deviation, Geoffrey Leech, Mohsen Pezeshkian. Introduction Geoffrey Neil Leach (16 January 1936 – 19 August 2014) was a distinguished English linguist and stylistician. Leach moved beyond traditional approaches in literary criticism by emphasizing the need for systematic and precise analytical tools for examining poetic language. He significantly contributed to the theory of salience and its application within stylistics. His book Language in Literature: Style and Foregrounding not only represents what he describes as a “collection of essays on applied stylistics,” but also offers a detailed explanation of different types of linguistic norms. Understanding these norms is essential for analyzing and describing foregrounding at various linguistic levels. Leach categorizes deviations and proposes a structured framework for classifying different types of deviation and rule expansion. Mohsen Pezeshkian was born on February 27, 1947, in the Gonbad neighborhood of Kazerun, located in Fars Province. He completed his primary and secondary education in Kazerun and Bushehr by 1966. In 1969, he was admitted to the Department of Persian Language and Literature at the University of Tehran. Until recent years, Pezeshkian was known mainly within his hometown, primarily for a limited number of poems written in the Kazeruni dialect and a few in standard Persian. In addition to poetry, Pezeshkian collected stories, customs, and ancestral traditions of southern Iran. His works include Stories of the People of Kazerun, Stories of Kumaranj and Mamsani, and Traditions and Proverbs of Kazerun. Materials and Methods This research adopts a descriptive–analytical approach and relies on library resources as well as academic journal databases. The scope of the study is the collection of poems by Mohsen Pezeshkian. The research procedure involved first extracting all instances of phonetic and lexical deviation from the poet’s works. These cases were then analyzed using a descriptive–analytical method, grounded in structuralist theory and Geoffrey Leech’s eightfold model of deviation, with a focus on the phonetic and lexical layers of Pezeshkian’s lyrical poetry. Research Findings Parallelism, or rule expansion, is not considered a deviation from normative rules but rather the application of additional rules alongside existing norms; therefore, it is inherently distinct from deviation. In the analysis of Mohsen Pezeshkian’s poetry, most types of semantic deviation were identified and examined. Semantic deviation appears in various forms in Pezeshkian’s poems. In some cases, the poet deliberately arranges words in such a way that understanding the poem’s meaning requires specific background knowledge, and the syntactic structure itself contributes to semantic complexity. One notable example is animism. In the poem “Night of Blood” from the second collection, Pezeshkian repeatedly uses the expression “the bullet chirps,” which represents a clear instance of semantic deviation through animism. Other subcategories of semantic deviation, such as vegetalization, fluidization, and abstraction, were also identified and analyzed. In the domain of syntactic deviation, several phenomena were observed, including advancement and delay of sentence elements, inverted adjectival constructions, omission of sentence components, transposition of adverbs, and variation in verbal structures. Phonetic deviation was also evident through processes such as reduction, deletion, addition, lenition, and intensification, each supported by textual examples. Stylistic deviation was examined through selected poems, while other forms—such as lexical, graphological, temporal deviation, and archaism—were analyzed based on Geoffrey Leech’s theoretical framework. Discussion of Results and Conclusions Semantic norm deviation in Pezeshkian’s poetry is realized through techniques such as abstraction, embodiment, animism, anthropomorphism, and vegetal imagery. Lexical norm deviation stands out as a defining feature of his poetic language, reflecting his creativity and innovation through unconventional word formations and profound semantic associations. Syntactic norm deviation manifests in various forms, including the transposition of sentence elements, omission of verbs or their replacement with verbal equivalents, inverted adjectival constructions, deletion of subjects, and displacement of adverbial elements. Phonetic norm deviation is achieved through transformation, intensification, reduction, deletion, addition, and lenition, which collectively enrich the musicality and tonal quality of the poems. Dialectal norm deviation, through the use of local vocabulary and syntactic patterns, distances the poetic language from the standard norm. Stylistic deviation, achieved by blending colloquial speech with formal written language, lends the poems an intimate, dynamic, and vivid quality. Temporal norm deviation, through the use of archaic, mythical, and historical vocabulary and structures, creates a meaningful dialogue between past and present. Finally, graphological deviation—through unconventional word arrangement, spacing, and visual layout—enhances the aesthetic dimension of Pezeshkian’s poetry and contributes to the effective transmission of poetic meaning by engaging the reader visually as well as linguistically. محسن پزشکیان یکی از شاعران پرکار پیش از انقلاب است که در جامعۀ دانشگاهی و بین دانشجویان ادبیات فارسی کمتر شناخته شده است. این پژوهش بر آن است که به‌منظور یافتن ادبیّت شعر این شاعر، انواع هنجارگریزی در سرودههای سنتی و نو ایشان را بررسی و تحلیل کند. کاربرد انواع هنجارگریزی‌های هشت‌گانه و قاعده‌افزایی در اشعار پزشکیان دیده می‌شود. از این میان، هنجارگریزی معنایی به روش‌های مختلف نمود زیادی دارد و با استفاده از صنایع ادبی مختلف مانند تشبیه و استعاره (مکنیّه و مصرّحه) و تشخیص دست به این کار زده است. پزشکیان واژگان را به بازی می‌گیرد و هنجارگریزی واژگانی می‌آفریند که این واژه‌سازی‌ها نشان از توانمندی او دارد. او با کاربرد برخی واژگان و ساخت‌های کهن از هنجارگریزی زمانی استفاده کرده است. هنجارگریزی سبکی نیز بسیار در غزل‌ها و همچنین شعرهای نو او وجود دارد. پزشکیان با استفاده از واژگان گویش محلی جنوب و کازرونی فضای جنوب را به‌خوبی به تصویر کشیده است؛ به‌ویژه در غزل‌هایش این کلمات محلی و سبکی محاوره بیشتر دیده می‌شود و حتی خواندن شعرهایش برای غیربومی‌ها دشوار می‌شود. طبیعت جنوب و نخل‌های آن در شعر او دیده می‌شود. در اشعار پزشکیان محتوا اجتماعی، سیاسی، عاشقانه و غم فراق یار و حتی گاهی عرفانی می‌شود. وی از هنجارگریزی آوایی و نوشتاری نیز بهره برده است. روش تحقیق در این پژوهش توصیفی-تحلیلی است. با مطالعه و بررسی مجموعه‌اشعار شاعر و یادداشت‌برداری و همچنین استفاده از مقالات علمی، پایان‌‎نامه و منابع بخش نقد فرمالیستی و هنجارگریزی اشعار این شاعر براساس دیدگاه زبان‌شناختی هنجارگریزی جفری لیچ بررسی و تحلیل شد.

https://liar.ui.ac.ir/article_30182_e6bea1646baa14dfae84465f3698a259.pdf

دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 From Poetry to Design: Interpreting Conceptual Metaphors in Persian Poetry in the Creation of Meaning and Form in Industrial Design از شعر تا طراحی؛ خوانش استعاره‌های مفهومی شعر فارسی در آفرینش معنا و فرم در طراحی صنعتی 99 120 30516 10.22108/liar.2026.148335.2570 FA سمیه رحیمی مدرس گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران رضا پارسا دانش آموخته کارشناسی ارشد طراحی صنعتی، دانشگاه معماری و هنر پارس، تهران، ایران. Journal Article 2026 02 15 Metaphor, from the perspective of Lakoff and Johnson's conceptual metaphor theory, is not a literary device but a fundamental mechanism in human cognition and understanding of the world. Persian poetry represents one of the richest contexts for the emergence of this conceptual system, where complex ideas such as love, knowledge, and existence are represented through metaphors. Contemporary industrial design has moved beyond mere functionalism toward meaningful, emotional, and cultural design, recreating aesthetic and conceptual experiences through form, texture, and user interaction. This study, employing a descriptive-analytical method and an interdisciplinary approach, seeks to answer how conceptual metaphors of Persian poetry can serve as inspirational patterns for creating meaning in industrial design. The findings demonstrate that conceptual metaphors of Persian poetry, beyond their literary function, can be transformed into conceptual models in industrial design and can play a role in shaping form, user experience, and cultural identity of products. Accordingly, re-reading the metaphorical system of Persian poetry can provide a theoretical basis for designing identity-oriented, meaningful, and culture-centered products, creating an effective link between literature, culture, and industrial design. Keywords: Conceptual Metaphor, Persian Poetry, Industrial Design, Meaning, Cultural Design. Introduction The theory of conceptual metaphor, introduced by George Lakoff and Mark Johnson (1980), posits that metaphor is not merely a linguistic phenomenon but a cognitive mechanism through which humans understand abstract concepts by mapping them onto concrete, sensory experiences (Lakoff & Johnson, 1980, p. 3). In this framework, a conceptual metaphor is defined as "a systematic mapping between elements of a concept domain based on human objective experience (source domain) onto another domain that is usually more abstract (target domain)" (Lakoff, 1993, p. 43). Persian poetry, particularly in its classical periods, serves not only as a realm for poetic imagination but also as a medium for cultural and intellectual representation. Within this context, metaphor operates beyond a rhetorical device or verbal ornamentation, functioning as a cognitive and cultural mechanism that enables abstract concepts to be conveyed to the audience through tangible experiences. In the field of industrial design, particularly over the past two decades, approaches emphasizing meaning, experience, and emotion have emerged. Theories such as emotional design (Norman, 2004), meaningful design (Krippendorff, 2006), and cultural design (Margolin, 1995) maintain that a product is not merely a functional object but a carrier of human signs, values, and emotions. Despite this conceptual overlap, few Persian-language studies have addressed the link between the metaphorical system of Persian poetry and industrial design. Literary research has often remained limited to rhetorical and aesthetic analysis of poetic language, while industrial design studies have mostly examined metaphor from the perspective of perceptual psychology and product design (Hekkert & Cila, 2015). The research problem is formulated as an inquiry into how the conceptual metaphor system of Persian poetry can serve as an inspirational model for creating meaning and form in industrial design. This study hypothesizes that Persian poetic metaphors possess systematic structural features that can be translated into design elements, including form, material, user experience, and cultural meaning. Materials and Methods This study employs a descriptive-analytical method with an interdisciplinary approach, combining literary analysis and industrial design. The research consists of three main stages. First, literary data collection: key metaphors were extracted from classical Persian poetry, including works by Hafez, Rumi, Saadi, and Sohrab Sepehri. Second, metaphorical system analysis: using Lakoff and Johnson's (1980) conceptual metaphor theory, each extracted metaphor was analyzed to identify its source domain (concrete, sensory experience) and target domain (abstract concept). Third, integration with industrial design principles: a comparative analytical method was used to map conceptual metaphors onto design elements. Each metaphor was analyzed for its potential to be translated into form, material, user experience, and cultural meaning in industrial products. Metaphors were categorized into five conceptual groups: natural/environmental, movement/dynamics, reflective/epistemic, emotional/psychological, and cultural/symbolic. For each category, conceptual design proposals were developed demonstrating how the metaphor could inform product aesthetics, function, and user interaction. This framework provides a systematic approach to transferring literary-cultural knowledge into industrial design practice. Research Findings The analysis revealed that Persian poetry's conceptual metaphors possess significant potential for translation into industrial design across five categories. Natural and environmental metaphors, such as "love is light" and "love is fire" (Hafez), can be expressed through transparent materials, gradual illumination, and forms suggesting emergence and radiance. The metaphor "truth is water" (Rumi) translates into dynamic, flowing forms and interactive products that require user participation. Movement and dynamics metaphors, including "the path of continuous effort" (Hafez) and "seeing differently" (Sepehri), inform designs with guiding lines, progressive disclosure, and adaptable configurations that allow multiple perspectives. Reflective and epistemic metaphors, such as "become a mirror" (Saeb) and "shadow as indirect presence" (Hafez), inspire reflective surfaces and products that respond to user presence, creating feedback loops and personal interaction. Cultural and symbolic metaphors, including "flower and wine as cultural perfection" (Hafez) and "evolution from stone to human" (Rumi), support designs that convey social status, educational progression, and cultural identity through organic forms, quality materials, and multi-stage experiences. Emotional and psychological metaphors, such as "the heart as a path to love" (Neshat Esfahani) and "love as endless search" (Rumi), enable gradual, discovery-based interactions and platforms that encourage sustained engagement. Collectively, these findings demonstrate that Persian poetic metaphors are not merely literary ornaments but actionable cognitive structures for creating meaningful, culturally-grounded industrial design. Discussion of Results and Conclusions This study demonstrates that Persian poetry's conceptual metaphors constitute a rich, systematic resource for industrial design, extending far beyond decorative or superficial inspiration. The findings confirm the central hypothesis: metaphors structuring Persian poetic thought can be systematically mapped onto design elements—form, material, user experience, and cultural meaning. The five-category framework provides designers with a practical taxonomy for translating abstract literary concepts into tangible product attributes. This integration offers several significant contributions. First, it validates cognitive linguistics theories (Lakoff & Johnson, 1980; Kövecses, 2010) in a novel applied context, showing that conceptual metaphors operate across verbal and material domains. Second, it addresses the interdisciplinary gap identified in the literature review, where literary studies and design research have remained largely separate (Hekkert & Cila, 2015). Third, it provides a culturally-grounded alternative to universalist design approaches, enabling products that reflect Iranian cultural identity while maintaining contemporary functionality. However, this study has limitations. The design proposals remain conceptual and require empirical testing through user studies and prototype evaluations. Future research should develop measurable criteria for assessing how effectively metaphorical translations communicate intended meanings to diverse users. Additionally, expanding the corpus to include contemporary Persian poetry and other Iranian art forms could enrich the framework. In conclusion, re-reading Persian poetry's metaphorical system offers a theoretical and practical foundation for meaningful, identity-oriented design, transforming literary heritage into a living resource for innovation in industrial design. استعاره از منظر نظریه استعاره مفهومی لیکاف و جانسون نه آرایه‌ای ادبی بلکه سازوکاری بنیادی در نظام شناخت و درک انسان از جهان است. در این نظریه انسان از طریق شبکه‌ای از استعاره‌های مفهومی، مفاهیم انتزاعی را با توسل به تجربه‌های ملموس و حسی می‌فهمد و باز می‌سازد. با چنین رویکردی، شعر فارسی را می‌توان یکی از غنی‌ترین بسترهای بروز این نظام مفهومی دانست؛ بستری که در آن مفاهیم پیچیده‌ای چون عشق، معرفت و هستی در قالب استعاره‌ها بازنمایی می‌شوند. در سوی دیگر، طراحی صنعتی معاصر نیز در دهه‌های اخیر از سطح کارکردگرایی صرف فراتر رفته و به سوی طراحی معناگرا، احساسی و فرهنگی حرکت کرده است؛ رویکردی که به بازآفرینی تجربه‌های زیباشناختی و مفهومی از خلال فرم، بافت و تعامل کاربر می‌پردازد. این پژوهش با روش توصیفی‌تحلیلی و رویکردی میان‌رشته‌ای، در پی پاسخ به این پرسش است که استعاره‌های مفهومی شعر فارسی چگونه می‌توانند به الگوهایی الهام‌بخش برای آفرینش معنا در طراحی صنعتی تبدیل شوند. یافته‌های پژوهش نشان داد که استعاره‌های مفهومی شعر فارسی، افزون بر کارکرد ادبی، قابلیت تبدیل‌شدن به الگوهای مفهومی در طراحی صنعتی را دارند و می‌توانند در شکل‌دهی فرم، تجربه کاربر و هویت فرهنگی محصولات نقش‌آفرین باشند. بر این اساس، بازخوانی نظام استعاری شعر فارسی می‌تواند مبنایی نظری برای طراحی محصولاتی هویت‌مند، معناگرا و فرهنگ‌مدار فراهم آورد و زمینه پیوندی مؤثر میان ادبیات، فرهنگ و طراحی صنعتی را فراهم سازد؛ بدین‌سان، پیوند میان ادبیات و طراحی، نه صرفاً تلفیقی میان دو رشته، بلکه بازاندیشی در مفهوم خلاقیت در سنت ایرانی است.

https://liar.ui.ac.ir/article_30516_99fa6cfa3afa032021cc2c48e1c2542e.pdf

دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 Self-Ascription and Other-Ascription of the "Rend" (Libertine) and "Rendi" (Libertinism) in Hafez's Poetry (Case Study: The Market Libertine and the Scandalous Libertine) خودنسبتی و دگرنسبتی رند و رندی در شعر حافظ؛ مطالعۀ موردی رند بازاری و رند لاابالی 121 138 30278 10.22108/liar.2026.147182.2524 FA حسین سلیمی استادیار گروه زبان و ادبیات فارسی ، دانشکده ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران سید امیر رضا بصری دانشجوی کارشناسی ارشد زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران Journal Article 2025 10 23 None of Hafez’s terms has sparked as much discourse as the term Rend (Libertine). Yet, at the same time, no concept has been considered so clear and in no need of research by scholars of Hafez’s language and thought. Passing judgment in this regard seems quite difficult, because even some well‑known and meticulous researchers have taken the same path and, at best, relied solely on their own knowledge and understanding, deeming it unnecessary to consult Persian dictionaries. A deep and profound examination of Hafez’s poetry reveals that the concept of Rend rarely appears alone. In Hafez Shirazi’s view, the Rend is always accompanied by love (āsheqī), intoxication (mastī), and joyousness (ṭarabnākī). The concepts of “market libertine” (rend‑e bāzārī) and “notorious, shameless libertine” (rend‑e lā‑ubālī)—referring to the most vile and base creatures, i.e., one who is bound by no creed, principle, or morality—appear only twice in Hafez’s poetry, and curiously, both times Hafez ascribes them to himself. What follows is a research effort conducted through a descriptive‑analytical method and a library‑based study of resources. By opening the precious and weighty Divan of Hafez, this study examines the positive and negative attributes of the Rend from his perspective, and investigates self‑ascription and other‑ascription of these positive and negative traits to this heart‑burning, world‑burning Rend. The results of the research indicate that Hafez ascribes the Rend with positive traits to both himself and others, while attributing the Rend with negative traits only to himself. This reflects the humility and modesty of this profound and refined poet and reveals Hafez as a person of good character, ethical integrity, and liberality. Keywords: Hafez, Rend and Rendī, Self‑ascription and Other‑ascription, Ethical Relativity. Introduction Khwāja Shams al‑Dīn Muḥammad Ḥāfiẓ (727‑792 AH) is the exquisite poet and greatest ghazal writer of Iran, and one of the precious and eminent geniuses of the human world. The word Rend is one of the most important, profound, and controversial terms present in his poetry. The Rend of Ḥāfiẓ carries various and sometimes contradictory characteristics and attributes such as “shameless”, “wine‑drinker”, “lover”, “notorious”, “saint”, “leader”, etc. (Morādī Fīrūz & Muḥammadī, 2024, p. 156). In Ḥāfiẓ’s view, the Rend is a personality embodying a multi‑dimensional, mysterious, and enigmatic paradox. In his poems and ghazals, Ḥāfiẓ creates a personality for the Rend that causes a semantic transformation and a deep, fundamental shift in its meaning within Sufi thought and culture. Through this rupture, the personality of the Rend—which before that, in culture, literature, and among popular sayings, was introduced as a social group opposing social norms with many negative attributes—presents to the audience a model of a complete, transcendent, and refined human being. Thus, in the Divan of this wise sage, the path of Rendī (libertinism) manifests through purity of heart, pleasure‑seeking, fearlessness and courage, steadfastness against hypocritical sheikhs, liberality, refinement, high aspiration, patience and forbearance, humility, fidelity to pledge and covenant, considering the world ephemeral, truth‑seeking, beauty‑worship, and enlightenment. The purpose of the present research is to examine the positive and negative attributes of the Rend from Ḥāfiẓ’s perspective, and to investigate self‑ascription and other‑ascription of these positive and negative traits to this heart‑burning, world‑burning Rend. Materials and Methods The present research has been conducted through a descriptive‑analytical method and a library‑based study (books, articles, etc.). Research Findings The combination of the two concepts of Rend and hypocrisy (riyā) in the form of “hypocritical libertine” (rend‑e riyāʾī) has no precedent in the poetry of others except in Ḥāfiẓ’s poetry—and even then, only once. If Ḥāfiẓ speaks of Rendī, in the real world too, he was a Rend—but not a market libertine nor a hypocritical libertine; rather, a pious libertine. A deep and profound examination of Ḥāfiẓ’s poetry reveals that the concept of Rend rarely appears alone. In Ḥāfiẓ Shirazi’s view, the Rend is always accompanied by love, intoxication, and joyousness. The concepts of market libertine and notorious, shameless libertine—referring to the most vile and base creatures, i.e., one who is bound by no creed, principle, or morality—appear only twice in Ḥāfiẓ’s poetry, and curiously, both times he ascribes them to himself. Of course, it should be noted that when Ḥāfiẓ attributes the basest traits of the Rend to himself, one must pay attention that this ascription is not in opposition and comparison to ordinary people, but rather in opposition to his own beloved, i.e., the sultan of his heart and soul, who is at once beloved, praised, and worshipped. In contrast to the negative and vile attributes of the Rend in Ḥāfiẓ’s view—which, as understood from his poems, he attributes only to himself—the Rend with positive attributes is ascribed by him both to himself and to others, reflecting the humility and modesty of this refined and profound poet and mirroring his intellectual orientation and worldview, as well as his poetic manner and conduct. Among these positive meanings and attributes are: awareness of secrets, refinement, self‑sufficiency and needlessness, endurance of affliction, humility, cleverness, indifference to profit and loss, saintliness, liberality and humanity, being a lover, intoxicated, sinner, and also opposed to expediency. Discussion of Results and Conclusion Khwāja Shams al‑Dīn Muḥammad Ḥāfiẓ is a source of pride and honor in the world of Persian poetry and literature and an outstanding poet‑orator of all historical periods. In his precious and weighty Divan, none of his terms has sparked as much discourse as the term Rend. In his poems and ghazals, Ḥāfiẓ creates a personality for the Rend that causes a semantic transformation and a deep, fundamental shift in its meaning within Sufi thought and culture. A deep and profound examination of Ḥāfiẓ’s poetry reveals that the concept of Rend rarely appears alone. In Ḥāfiẓ Shirazi’s view, the Rend is always accompanied by love, intoxication, and joyousness. The concepts of market libertine and notorious, shameless libertine—referring to the most vile and base creatures, i.e., one who is bound by no creed, principle, or morality—appear only twice in Ḥāfiẓ’s poetry, and curiously, both times he ascribes them to himself. Of course, it should be noted that when Ḥāfiẓ attributes the basest traits of the Rend to himself, one must pay attention that this ascription is not in opposition and comparison to ordinary people, but rather in opposition to his own beloved, i.e., the sultan of his heart and soul, who is at once beloved, praised, and worshipped. In contrast to the negative and vile attributes of the Rend, Ḥāfiẓ ascribes the Rend with positive attributes both to himself and to others, reflecting the humility and modesty of this refined and benevolent poet and revealing Ḥāfiẓ as a person of good character, ethical integrity, and liberality. هیچ‌یک از اصطلاح‌های حافظ به‌اندازۀ رند، گفت‌وگوهای فراوان پدید نیاورده است. چنان‌که مشاهده می‌شود هیچ اصطلاحی نیز به‌اندازۀ رند در دیدگاه پژوهشگران زبان و اندیشۀ حافظ، روشن و بی‌نیاز از پژوهش نبوده است. در این باره داوری سخت دشوار می‌نماید؛ زیرا گاه برخی از پژوهشگران شناخته‌شده و دقیق نیز به همین راه رفته و در بهترین حالت به دانش و دریافت خود بسنده کرده و خود را از مراجعه به فرهنگ‌های فارسی بی‌نیاز دانسته‌اند. با دقتی ژرف و شگرف در شعر حافظ مشخص می‌شود که مفهوم رند در شعر این بلبل خوش‌نوای بوستان ادب و عرفان کمتر به‌تنهایی آمده است. رند در نظرگاه حافظ شیرازی همواره با عاشقی، مستی و طربناکی قرین و همراه بوده است. مفاهیم رند بازاری و بدنام لاابالی به‌عنوان فرومایه‌ترین و پست‌ترین موجوات، یعنی کسی که در بند هیچ آیین و مرام و اخلاقی نیست، تنها دوبار در شعر حافظ آمده و شگفت آنکه هر دوبار نیز آن‌ها را به خود نسبت داده است. آنچه از پی می‌آید کوشش و پژوهشی است که با روش توصیف و تحلیل و با مطالعه و بررسی منابع کتابخانه‌ای انجام گرفته و با گشایش دیوان گران‌سنگ حافظ، به بررسی صفات مثبت و منفی رند از نظرگاه وی پرداخته و خودنسبتی و دگرنسبتی این رند جانسوز و جهانسوز را دربارۀ این صفات مثبت و منفی بررسی کند. نتیجۀ پژوهش بیانگر آن است که حافظ، رندِ با صفات مثبت را به خود و دیگران نسبت داده است، درحالی‌که رندِ با صفات منفی را تنها به خویشتن منتسب می‌سازد که نشان از تواضع و فروتنی این شاعر وارسته و ژرف‌اندیش داشته و حافظ را بَر منش نیک، اخلاقمند و آزاده نشان می‌دهد.

https://liar.ui.ac.ir/article_30278_b0ba35794466461aac6e7bfe1a18039a.pdf